EVERYTHING YOU'VE COME TO EXPECT
I must say, it's very rare that I go out and buy an album on its release day. I don't even remember the last time I anticipated an album as much as I've anticipated this little beauty, 'Everything You've Come To Expect' by The Last Shadow Puppets. Recently, I've been listening to its predecessor 'The Age of The Understatement', and the depth, skill and prowess of the album still continues to amaze me. There aren't a lot of artists around these days who make music that stands of its own accord like that, irrespective of anyone and anything else. These days, the musical landscape is very stereotypical and very closely connected, with immense overlap and little segregation. The dots you can join up from one artist to the next have very little distance in-between, and the longevity of the music is very much based in the here and now. Here today. Gone tomorrow. The mainstream music industry is something of a fast food chain, in that it's made for the moment, it lacks depth, it's a quick fix, it's mass made, mass produced, a corporate entity with a floundering soul and heart. Sure it has its purpose and its uses. A lot of the music we hear today is great for a dance, great to sing along to, but that's just it. It doesn't penetrate the surface. It often doesn't connect to you. It doesn't carry a greater depth and soul and meaning, like I personally believe good music should. You aren't going to turn to it in a time of need. You aren't going to use it as a narrative to your life. It isn't going to change you. You aren't going to grow, just by listening to it. It isn't going to stay with you throughout your life. And I think that's why I have always loved Alex Turner so much, and why he consistently prevails as being my favourite musician of all time. Because to me, and so many others, his music is not only all those things, but so much more too.
Whatever he turns his hand to, whether it be the Arctic Monkeys, The Last Shadow Puppets, the Submarine soundtrack, he does it with such sincerity, beauty, soul, passion, energy. Nothing he creates is transitory. Nothing is done just for the sake of it. It's always created with the intention to be permanent, to frame a period of time, to contribute something meaningful to the framework of music history, to connect the listeners back to the heart and soul of real, true, breathing music. Alex Turner is never a follower, treading on the tailcoats of others, immersing himself within the majority, doing what's expected. He's a pioneer. He's an innovator. He's extremely talented at all the main components comprising a musical backbone. He's inquisitive and perceptive. He's mastered the art of integration. He sees a world that lies between the lines. He sees something where others see nothing. And he's also endearingly modest about his talents. NME are always harping on about how he's a musical genius, a lyrical master, the voice of a generation, and it's difficult to disagree with that. Alex Turner is all those things, yet the irony is these credentials are often not directed his way, or at least not as frequently as they should be. In may ways, Alex Turner is the underdog of the music industry, in that the magnitude of his contributions are rarely fully appreciated or noticed. Time and time again he does his duty, and spurns another work of art to blow our minds and dazzle our souls, yet the value and worth and appreciation he garners, is never truly enough. How could it ever be? He's easily one of the greats, yet I can't help but feel like he's one of those artists whose musicianship and talents will only fully be appreciated when time has passed, and it transpires that his work has not only the benefit of longevity, but it has also had the power to influence and shape the music of the following generations in a multitude of different ways.
One of the things I love most about Alex Turner, is watching him grow and evolve as a musician. He never seems to put a foot wrong. Over the years he has taken many risks, in order to develop and hone his craft, yet his unique defining profile remains, and in many ways is strengthened and bettered by the musical detours he makes. You can't help but hypothesise if this is in part due to the deep connection and security he has with his song-writing and musical abilities. He knows his musical identity and abilities so thoroughly, he knows his backbone so well, that it in turn affords him a special freedom to explore and venture beyond because he always knows how to bring it back round, and connect the dots back together. He never diminishes, but instead always grows. He never loses himself, but instead submerges to new depths. He never takes a step back because he's too busy moving forwards. He never loses himself in the crowd because his inner harmony means he's strong enough to walk alone. Yet in spite of his prevailing self-assurance, it's impossible not to praise Alex Turner's talents and successes, without giving some much needed gratitude, respect and attention to his endearing and equally talented, fellow Puppeteer, Miles Kane. Miles was and is an integral and crucial part in Alex Turner's evolution as a musician, and in some respects is the beating heart of this pinnacle and saviour of modern day music.
If you were to pick apart the components of Alex Turner's musical make-up, many would have to be attributed to Miles Kane's influence, but in terms of power balance, Alex Turner's international fame and well known public persona technically give him the upper hand. Yet when you take both Alex and Miles together, you realise that there is an overwhelming sense of equality between the two of them. They are two halves that together make a perfect whole. They better each other, complete each other, inspire each other, grow each other. Miles is the making of Alex. Alex is the making of Miles. It's a bit like the relationship between Christine McVie and Stevie Nicks, in Fleetwood Mac, in that both are equally talented, and each fully supports and helps better the other, yet one friend garners the majority of the attention and recognition. However the rivalry you expect is lacking, because this isn't just a relationship, it's a partnership, and it thus blooms and blossoms and roots far far below the surface. It's not about envy and jealousy and competitiveness. It's about love and pride and appreciation for one another. Although Alex Turner receives the most recognition out of the two, he wouldn't be who he is, or where he is, nor would he be able to achieve recognition as one of the musical greats and effect the music industry the way he has, without Miles Kane. And the beauty of their relationship, is seeing Alex's acknowledgement of this, and the reciprocating gestures he sends Miles' way. They share their successes together, they continually lift each other up, and that deep rooted sincerity, affection, honesty, friendship, is what I believe makes The Last Shadow Puppets such an interesting and endearing band to follow.
When you listen to their music, all those qualities are reflected within every word, every chord, every song. The relationship between Miles and Alex is almost like that of soulmates, and the integration of Miles' and Alex's talents, alongside their friendship and adoration for one another, continually makes for stunning and incredibly complementary collaborations. Hearing them work off one another is a true joy, because each brings out the best in the other and lifts the other up to unparalleled heights. 'Everything You've Come To Expect' is further evidence of the beauty and strength of their unique relationship, and not only picks up from where 'The Age of The Understatement' left off, but also expands upon it with a reverberating confidence and assuredness too. It quickly envelopes out towards the periphery of the territory explored on their début album, and then artfully surpasses it, guided by an amalgamation of rich and varied influences that serve to strengthen the original TLSP sound. There's a touch of The Beatles, Tame Impala, Dion, and even a hint of ELO on extra track 'The Bourne Identity'. Some songs, such as 'Bad Habits', 'Pattern' and 'Aviation' clearly play to Miles' strengths and influences, pumped with that electric, energetic, fizzling Liverpuddlian soul. Other songs, such as 'The Dream Synopsis', 'Everything You've Come To Expect' and 'The Element of Surprise' are instead taken up by Alex, as he further explores that dreamy, sultry, hypnotic, surrealist vein of music that he does so effortlessly well. Meanwhile the songs in between see both Alex and Miles course head to head and explode into a joyful, intriguing, innovative musical hybrid, where it could be argued that the magic really takes place. Not only do we hear the best of both men, we also hear the infinite possibilities that genesis when the two come together, as do we hear them evolving both individually and together towards the future too.
'Everything You've Come To Expect' is something of a masterpiece, and I'm not just saying that because I'm a long time fan of both Alex Turner and Miles Kane. This is an incredibly special album not only because of the spectacular end results, but also because of the myriad of components that lead to its creation. Once again, TLSP have created an album that is in another league of its own, and an album that will no doubt carve out a place for itself in the architecture of musical history, just as its predecessor did eight years previously. This isn't just an album for the here and now, it's a living, breathing, growing entity that nourishes, dreams, dares, explores with every listen, and the repercussions will reverberate and inspire for many years to come. It's filled with life. It's surmised with a hidden depth. It's rich with soul. And right now I'm looking at the album lying across from me on the table, its yielded secrets both expected and unexpected in equal measure, and I can't help but feel like I have borne witness to something very special indeed.
http://www.thelastshadowpuppets.com/
Whatever he turns his hand to, whether it be the Arctic Monkeys, The Last Shadow Puppets, the Submarine soundtrack, he does it with such sincerity, beauty, soul, passion, energy. Nothing he creates is transitory. Nothing is done just for the sake of it. It's always created with the intention to be permanent, to frame a period of time, to contribute something meaningful to the framework of music history, to connect the listeners back to the heart and soul of real, true, breathing music. Alex Turner is never a follower, treading on the tailcoats of others, immersing himself within the majority, doing what's expected. He's a pioneer. He's an innovator. He's extremely talented at all the main components comprising a musical backbone. He's inquisitive and perceptive. He's mastered the art of integration. He sees a world that lies between the lines. He sees something where others see nothing. And he's also endearingly modest about his talents. NME are always harping on about how he's a musical genius, a lyrical master, the voice of a generation, and it's difficult to disagree with that. Alex Turner is all those things, yet the irony is these credentials are often not directed his way, or at least not as frequently as they should be. In may ways, Alex Turner is the underdog of the music industry, in that the magnitude of his contributions are rarely fully appreciated or noticed. Time and time again he does his duty, and spurns another work of art to blow our minds and dazzle our souls, yet the value and worth and appreciation he garners, is never truly enough. How could it ever be? He's easily one of the greats, yet I can't help but feel like he's one of those artists whose musicianship and talents will only fully be appreciated when time has passed, and it transpires that his work has not only the benefit of longevity, but it has also had the power to influence and shape the music of the following generations in a multitude of different ways.
One of the things I love most about Alex Turner, is watching him grow and evolve as a musician. He never seems to put a foot wrong. Over the years he has taken many risks, in order to develop and hone his craft, yet his unique defining profile remains, and in many ways is strengthened and bettered by the musical detours he makes. You can't help but hypothesise if this is in part due to the deep connection and security he has with his song-writing and musical abilities. He knows his musical identity and abilities so thoroughly, he knows his backbone so well, that it in turn affords him a special freedom to explore and venture beyond because he always knows how to bring it back round, and connect the dots back together. He never diminishes, but instead always grows. He never loses himself, but instead submerges to new depths. He never takes a step back because he's too busy moving forwards. He never loses himself in the crowd because his inner harmony means he's strong enough to walk alone. Yet in spite of his prevailing self-assurance, it's impossible not to praise Alex Turner's talents and successes, without giving some much needed gratitude, respect and attention to his endearing and equally talented, fellow Puppeteer, Miles Kane. Miles was and is an integral and crucial part in Alex Turner's evolution as a musician, and in some respects is the beating heart of this pinnacle and saviour of modern day music.
If you were to pick apart the components of Alex Turner's musical make-up, many would have to be attributed to Miles Kane's influence, but in terms of power balance, Alex Turner's international fame and well known public persona technically give him the upper hand. Yet when you take both Alex and Miles together, you realise that there is an overwhelming sense of equality between the two of them. They are two halves that together make a perfect whole. They better each other, complete each other, inspire each other, grow each other. Miles is the making of Alex. Alex is the making of Miles. It's a bit like the relationship between Christine McVie and Stevie Nicks, in Fleetwood Mac, in that both are equally talented, and each fully supports and helps better the other, yet one friend garners the majority of the attention and recognition. However the rivalry you expect is lacking, because this isn't just a relationship, it's a partnership, and it thus blooms and blossoms and roots far far below the surface. It's not about envy and jealousy and competitiveness. It's about love and pride and appreciation for one another. Although Alex Turner receives the most recognition out of the two, he wouldn't be who he is, or where he is, nor would he be able to achieve recognition as one of the musical greats and effect the music industry the way he has, without Miles Kane. And the beauty of their relationship, is seeing Alex's acknowledgement of this, and the reciprocating gestures he sends Miles' way. They share their successes together, they continually lift each other up, and that deep rooted sincerity, affection, honesty, friendship, is what I believe makes The Last Shadow Puppets such an interesting and endearing band to follow.
When you listen to their music, all those qualities are reflected within every word, every chord, every song. The relationship between Miles and Alex is almost like that of soulmates, and the integration of Miles' and Alex's talents, alongside their friendship and adoration for one another, continually makes for stunning and incredibly complementary collaborations. Hearing them work off one another is a true joy, because each brings out the best in the other and lifts the other up to unparalleled heights. 'Everything You've Come To Expect' is further evidence of the beauty and strength of their unique relationship, and not only picks up from where 'The Age of The Understatement' left off, but also expands upon it with a reverberating confidence and assuredness too. It quickly envelopes out towards the periphery of the territory explored on their début album, and then artfully surpasses it, guided by an amalgamation of rich and varied influences that serve to strengthen the original TLSP sound. There's a touch of The Beatles, Tame Impala, Dion, and even a hint of ELO on extra track 'The Bourne Identity'. Some songs, such as 'Bad Habits', 'Pattern' and 'Aviation' clearly play to Miles' strengths and influences, pumped with that electric, energetic, fizzling Liverpuddlian soul. Other songs, such as 'The Dream Synopsis', 'Everything You've Come To Expect' and 'The Element of Surprise' are instead taken up by Alex, as he further explores that dreamy, sultry, hypnotic, surrealist vein of music that he does so effortlessly well. Meanwhile the songs in between see both Alex and Miles course head to head and explode into a joyful, intriguing, innovative musical hybrid, where it could be argued that the magic really takes place. Not only do we hear the best of both men, we also hear the infinite possibilities that genesis when the two come together, as do we hear them evolving both individually and together towards the future too.
'Everything You've Come To Expect' is something of a masterpiece, and I'm not just saying that because I'm a long time fan of both Alex Turner and Miles Kane. This is an incredibly special album not only because of the spectacular end results, but also because of the myriad of components that lead to its creation. Once again, TLSP have created an album that is in another league of its own, and an album that will no doubt carve out a place for itself in the architecture of musical history, just as its predecessor did eight years previously. This isn't just an album for the here and now, it's a living, breathing, growing entity that nourishes, dreams, dares, explores with every listen, and the repercussions will reverberate and inspire for many years to come. It's filled with life. It's surmised with a hidden depth. It's rich with soul. And right now I'm looking at the album lying across from me on the table, its yielded secrets both expected and unexpected in equal measure, and I can't help but feel like I have borne witness to something very special indeed.
http://www.thelastshadowpuppets.com/
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